Published in print in Melbourne's Herald Sun, Tuesday 17th December 2019
Just over 200 years ago, a young Rossini whipped up opera’s most famous comedy, The Barber of Seville, in a matter of weeks. Pumped with melodious energy, tingling vocal pyrotechnics and bursting with comic potential, it can fill opera theatres even today. So, it was with some surprise that Victorian Opera scheduled just two performances in a spare, semi-staged production.
One part concert and two parts theatre, economy of scale never stood in the way of performances several parts seemingly caffeinated. Or was it absinthe that fuelled this something of a year-end work bash? The comic shenanigans and connection between musicians, artists and audience became a non-stop infectiously entertaining affair.
A fizzing Orchestra Victoria had the overture to themselves under Richard Mills before Elizabeth Hill-Cooper’s direction began its madcap mayhem. It was obvious Mills demanded playfulness. Stretching and contracting the tempi a little too liberally, the singers certainly had challenges to meet.
Baritone José Carbó gave a sensationally packaged turn as the industrious Figaro. The familiar “Largo al factotum” not only had crystal diction and agile aplomb but Carbó included snipping off continuo player Phoebe Briggs’ plait and handing an espresso to Mills as part of the humour.
Big smiling and nimble, Brenton Spiteri had the luxurious warmth to charm as Count Almaviva on his masqueraded quest for Rosina’s heart. Not quite so smooth were the coloratura passages, which two Italians showcased excellently.
As Rosina, Chiara Amarù’s dynamic mezzo-soprano and cheeky seductiveness combined in marvellous form. And formidable bass Paolo Pecchioli, who personified Don Basilio in all sorts of arm-waving antics as the cockroach he is, just about stole the show.
In resounding cannon vocals and turkey step, Warwick Fyfe excelled as old Doctor Bartolo and Kathryn Radcliffe shone exceptionally as Berta. The male chorus acted like pistons in a well-oiled machine, the ensemble singing soared in the Act 1 and 2 finales and the Storm Scene was a whirling beauty. A few theatrical trimmings were missed but, whatever it was they were on, you wanted what they were having.
The Barber of Seville
Victorian Opera
Melbourne Recital Centre
Until 14th December 2019
3.5 stars
Production Photos: Nick Hanson
Just over 200 years ago, a young Rossini whipped up opera’s most famous comedy, The Barber of Seville, in a matter of weeks. Pumped with melodious energy, tingling vocal pyrotechnics and bursting with comic potential, it can fill opera theatres even today. So, it was with some surprise that Victorian Opera scheduled just two performances in a spare, semi-staged production.
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| Paolo Pecchioli, José Carbó, Kathryn Radcliffe, Stephen Marsh and Chiara Amarù |
A fizzing Orchestra Victoria had the overture to themselves under Richard Mills before Elizabeth Hill-Cooper’s direction began its madcap mayhem. It was obvious Mills demanded playfulness. Stretching and contracting the tempi a little too liberally, the singers certainly had challenges to meet.
Baritone José Carbó gave a sensationally packaged turn as the industrious Figaro. The familiar “Largo al factotum” not only had crystal diction and agile aplomb but Carbó included snipping off continuo player Phoebe Briggs’ plait and handing an espresso to Mills as part of the humour.
Big smiling and nimble, Brenton Spiteri had the luxurious warmth to charm as Count Almaviva on his masqueraded quest for Rosina’s heart. Not quite so smooth were the coloratura passages, which two Italians showcased excellently.
As Rosina, Chiara Amarù’s dynamic mezzo-soprano and cheeky seductiveness combined in marvellous form. And formidable bass Paolo Pecchioli, who personified Don Basilio in all sorts of arm-waving antics as the cockroach he is, just about stole the show.
In resounding cannon vocals and turkey step, Warwick Fyfe excelled as old Doctor Bartolo and Kathryn Radcliffe shone exceptionally as Berta. The male chorus acted like pistons in a well-oiled machine, the ensemble singing soared in the Act 1 and 2 finales and the Storm Scene was a whirling beauty. A few theatrical trimmings were missed but, whatever it was they were on, you wanted what they were having.
The Barber of Seville
Victorian Opera
Melbourne Recital Centre
Until 14th December 2019
3.5 stars
Production Photos: Nick Hanson
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